Do YOU want 6k??

[Björn Benckert]

an easy way to get less noise is to increase source resolution. The if you downscale your C-mos sensor to 1/9 then you get a extremely good debarring. 6k/9 = about HD....


So:

HD from 6k will shine like nothing else.
Video / Debayering noice will be close to none.
Pixels sharpness will be far above any of our lenses.

Then again explain to my why you would not want a 6k sensor, that you could just touch screen down to a 5k sensor... if you do not care for the extra sensor size or pixel count.

The the one and only reason to say no thanks would be economy. But then again evolution will go on and if you do not have that 6k within a years time others will... There will be cameras out there, alexa studio among others that will be preferred by a lot of DP's but with grater range, framerate, sensor size and pixel count you are still competing and probably doing so with better gear.

If you shoot for your self not renting, not counting pixels, and do not care about source resolution then you need to ask yourself... why did you get 5k in the first place..

[L. Langer]

If it gives a noticeably better picture (not with any unrealistic expectations mind you) when finished at 4K without skull-fucking the current post-production hardware that everyone here is using, I say bring it on! If it requires a big leap forward -and I don't think it probably does or it wouldn't be discussed and carried out right now - then I'll wait for things to catch up. Either way, RED is moving forward and outward to boldly go where no maniac has gone before and that means something good when the competition is recycling their technology and ideas left and right while cautiously introducing new ideas.

[Cid J Salcido Uyarra]

6k is gonna be great for Cinema but everything else like commercial and Web is gonna be major overkill. By the time every company catches up and can provide 16Bit 4K it's gonna take a long minute. I mean seriously Prometheus finished SFX in 2K LOL too much money to do 4K.

My main concern is the Black Shading allot more pixels to test on a 6K sensor, so are we looking at a 40 Minute calibration? If I remember the Black Calibration was way shorter on Mysterium than MX.

Shooting wise I'm still in the indi Film world with a Scarlet so to be honest I can live without 6K for another year, year 1/2.

The Media Support and Drive support just to get through a production maybe insane, don't really know until I handle the media personally.

hopefully Dragon can live up to the hype, more dynamic range and less noise is a must.

I wasn't a big fan of Mysterium, no flexibility in ASA. MX was a great jump, it has its downsides but I can live with it and know how to treat that sensor right.

I heard a rumor on set that Soderberg shot a scene that had mad noise and spent over $50K in noise reduction. Cheaper than re-shooting a scene but even the Pros have to deal with these issues.

After the Zacuto Shoot Out it seems like everyone wants killer dynamic range less noise than resolution, it can get pretty muddy on a MX if not lit right.

bla bla bla you know sensor evolution baby!!!

[Will Keir]

$6,000 US for the upgrade is incredible. I'd pay 12k if they made the camera 2 stops more sensitive in low light situations.

[KETCH ROSSi]

6k is gonna be great for Cinema but everything else like commercial and Web is gonna be major overkill. By the time every company catches up and can provide 16Bit 4K it's gonna take a long minute. I mean seriously Prometheus finished SFX in 2K LOL too much money to do 4K.

My main concern is the Black Shading allot more pixels to test on a 6K sensor, so are we looking at a 40 Minute calibration? If I remember the Black Calibration was way shorter on Mysterium than MX.

Shooting wise I'm still in the indi Film world with a Scarlet so to be honest I can live without 6K for another year, year 1/2.

The Media Support and Drive support just to get through a production maybe insane, don't really know until I handle the media personally.

hopefully Dragon can live up to the hype, more dynamic range and less noise is a must.

I wasn't a big fan of Mysterium, no flexibility in ASA. MX was a great jump, it has its downsides but I can live with it and know how to treat that sensor right.

I heard a rumor on set that Soderberg shot a scene that had mad noise and spent over $50K in noise reduction. Cheaper than re-shooting a scene but even the Pros have to deal with these issues.

After the Zacuto Shoot Out it seems like everyone wants killer dynamic range less noise than resolution, it can get pretty muddy on a MX if not lit right.

bla bla bla you know sensor evolution baby!!!

You forgot to mention that 6k and + is also a most welcome coming for High Fashion shots, especially for Still Extractions, and for me the DRAGON upgrade can't come soon enough... ;)

[Marc Berger]

You forgot to mention that 6k and + is also a most welcome coming for High Fashion shots, especially for Still Extractions, and for me the DRAGON upgrade can't come soon enough... ;)

+1
I use Scarlet a lot for stills, so 6K and more is most welcome. For motion I´m happy with 4K.

[Stefano Ceccon]

+1 Ketch
I make the promotional videos tourist in the Alps, and now I can also sell images for postcard, billboards etc.
Perfect to give the same packaging to a product!

[Will Keir]

right on Stefano, i too love being able to pull stills from my work. 5k stills is large enough for billboards? We talking the large 8 feet x 20 feet ones?

[Will Keir]

The trouble with 8k is the same we see with 5k now. Taking a 2k shot uses less of the sensor and the quality degradation is obvious. Will shooting 4k from an 8k sensor yield similar results? Could there be an option to use the full sensor at any resolution. So the images are smaller but nothing is lost in the details using a smaller form factor?

[Bob Gundu]

right on Stefano, i too love being able to pull stills from my work. 5k stills is large enough for billboards? We talking the large 8 feet x 20 feet ones?

Absolutely.